书体:

色彩:

设色

装裱形式:

轴

创作时间:

嘉祐辛丑（1061）

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：缉熙殿宝
收传印记：性命同珍依子孙永宝玩
收传印记：司印(半印)
收传印记：晋国奎章
收传印记：晋府书画之印
收传印记：敬德堂图书印
收传印记：清和珍玩
收传印记：乾坤清玩
收传印记：三河孙东瀛珍藏
收传印记：（一印惟「珍藏」二字可辨）

题跋资料:

题跋类别：作者款识；作者：崔白；题跋位置：本幅；款识：嘉祐辛丑年（西元一０六一年）崔白笔楷书

主题:

主要主题：走兽兔 ；其他主题：山水秋景 ；其他主题：树木竹 ；其他主题：树木  ；其他主题：花草荆枝 ；其他主题：翎毛喜鹊 

技法:

工笔 双钩 

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页667 收藏着录： 故宫书画录（卷五），第三册，页59 收藏着录： 故宫书画图录，第一册，页247-248 参考书目： 1.林柏亭，〈宋崔白双喜图〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页80-81。2.童文娥，〈崔白双喜图〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页181- 183。3.谭怡令，〈双喜图〉，收入林柏亭主编，《国宝菁华 — 书画‧图书文献篇》（台北：国立故宫博物院，2006年12月），页198。4.杜书华，〈国之重宝 — 书画精萃特展〉，《故宫文物月刊》，第19期（1984年10月），页26。5.杜书华，〈宋崔白双喜图〉，《故宫文物月刊》，第100期（1991年7月），页74。6.童文娥，〈院体花鸟画的变格 — 崔白双喜图〉，《故宫文物月刊》，第281期（2006年8月），页52-58。7.李霖灿，〈故宫博物院的名画宝藏(上)〉，《故宫季刊》，第十三卷第四期（1979年夏），页69-83。8.李霖灿，〈苏东坡诗和崔白双喜图─论宋画阔绢狭绢问题〉，《故宫学术季刊》，第二卷第一期（1984年秋），页1-8。9.《崔白双喜图》（台北：国立故宫博物院，1983）。10.陈韵如，〈宋崔白双喜图〉，收入蔡玫芬主编，《精彩一百　国宝总动员》（台北：国立故宫博物院，2011年九月初版一刷），页264。 内容简介（中文）： 崔白，字子西，安徽鳯阳人。仁宗时（西元1023-1063年）为画院艺学，神宗时（西元1067-1085年）以性疏阔，辞去画职。善花竹翎毛。 本幅绘山喜鹊二，一展翅腾空，一俯身鼓噪，下有野兔悠然昂首回顾，呼应密切，动态活跃欲生。鹊、兔以精笔绘成，而坡土、树干以粗笔写就，粗细对照，和谐得宜。 内容简介（中文）： 崔白（活动于十一世纪后半），字子西，安徽鳯阳人。仁宗时（1023－1063）为画院艺学，神宗时（1067－1085）以性疏阔，辞去画职。善花竹翎毛。 本幅绘山喜鹊二，一展翅腾空，一俯身鼓噪，下有野兔悠然昂首回顾，呼应密切，动态活跃欲生。鹊、兔以精笔绘成，而坡土、树干以粗笔写就，粗细对照，和谐得宜。(20061206) 内容简介（英文）： Ts'ui Po, style name Tzu-hsi, was a native of Feng-yang in Anhwei and served in the Imperial Painting Academy under Emperor Jen-tsung (r. 1023-1063) as a Painting Student. Under Emperor Shen-tsung (r. 1067-1085), his unbridled nature led him to quit the Academy. As a painter, he was especially talented in painting birds, animals, flowers, and bamboo. This painting depicts a pair of wild magpies, one of which hovers above with wings outstretched as the other shrills out from a branch. Beneath them, a hare raises its head casting a glance behind in response. The intimate balance and interaction of the various pictorial elements imparts a sense of life to the painting, and the delicate brushwork for the magpies and hare contrasts harmoniously with the coarser brush strokes for the slope and tree trunk.(20061206) 内容简介（英文）： Ts’ui Po was a native of Feng-yang in Anhui Province who served in the Imperial Painting Academy during the reign of Emperor Jen-tsung(1023-1063). He was especially talented in painting birds, flowers, and bamboo. This painting depicts a pair of magpies, one of which hovers above with wings outstretched, while the other shrills from a branch. Beneath them a hare raises its head to cast a glance behind. The intimate balance of the various pictorial elements imparts a sense of life to the painting. The delicate brushwork of the magpies and hare contrasts harmoniously with the blunt brushwork of the hillside and the tree trunk. 网页展示说明 崔白（活动于11世纪后半），字子西，安徽凤阳人。宋熙宁初，恩补画院中图画院艺学。结合工细和放逸的笔法，展现个人面貌，为北宋花鸟名家。　本幅为崔白代表作，树干上有「嘉祐辛丑年（1061）崔白笔」的款署。全作充分掌握灰喜鹊捍卫地域的本能和野兔的及时反应，呈现自然界精采的一瞬间，并结合构图上弧型走向的律动美感，以及随着物形变化的丰富笔墨，为形神兼备的典型北宋院画作品。(20110913) 网页展示说明 Cui Bo (style name Zixi), a native of Fengyang in Anhui, was granted the favor of a supplementary appointee as an Art Student (“Yixue”) in the Painting Academy at court during the early Xining reign. His brush manner combined delicately fine and untrammeled coarse styles to express his own individual appearance, and he was a famous bird-and-flower painter of the Northern Song.This is a representative work by Cui Bo, his signature for “Brushed by Cui Bo in the ‘xinchou’ year of the Jiayou [reign, 1061]) ” appearing on the trunk of the tree. The work fully grasps the instinct of azure-winged magpie in defending its territory and the hare’s timely response, presenting a fascinating moment from the world of nature. Combining the rhythmic aesthetic of an arcing movement in the composition and rich brush and ink that varies with the subjects it depicts, it makes this a classic Northern Song work of the Painting Academy fusing both form and spirit.(20110913)